MY SCRIPT'S READY. NOW WHAT?
March 14th, 2004
MY SCRIPT'S READY. NOW WHAT?
by Craig KellemMy name is Craig Kellem. I'm a transposed Hollywood professional. I've been an agent, studio development exec, producer and writer (WGA member). I now have a script consulting service that I run with my associate, Judy Kellem. We help people improve their scripts and seriously prepare their material for the marketplace. We believe that skillful and constructive help with material can make the difference between life and death for a project.
Finishing a script can be both a thrilling and terrifying time. After all those months of being on the mission, brainstorming, obsessing, getting blocked, breaking through, endless hours--the party's over. Now the fun begins. It's end-game time.
At this point, many up and coming writers believe with all their hearts that if they were ONLY able to find the right agent or producer they'd be set. Hollywood would discover what you already know. You've got a winner!
The last thing you want is to find out that there's more work to be done.
In my experience --there usually is. And it's CRITICAL WORK!
So there's one more thing to do BEFORE YOU SHOP IT. Find out what you've really got. Hire a pro. Honest professional feedback without risk is essential.
Why?
Better that YOU learn there's a needed rewrite/polish than to find out via a rejection. Or worse, rejectionS (and wasted contacts).
Remember--agents and producers are important only AFTER the material is READY.
I understand, it's hard to postpone the momentum of the hunt. You're pumped. Besides, your friends told you the script was great.
Well, in all honesty, opinions from friends are okay, but the truth is that few non-professionals really know how to evaluate and materially improve a script. They think they do, but they don't.
Friends will usually end up telling you what you want to hear. Or worse, give broad sweeping comments with no palpable solutions (" I loved this. I hated that. Why? I don't know, just cause" type "feedback").
A pro's job is to read the material with an eye on technique, attention to structure, mood, tone, character, plot development, believability and cinematic resonance, to name but a few of the components under exam. Knowledgeable pro's try to take their x-ray read and give solid, concrete insight as to why something does and doesn't work and technical ways to fix problems, where to start honing each scene, moment, page.
Slow down. Life will not pass you by. "It will be there when you get there."
Here's my top ten list for why you should consider working with a pro:
1. Risk free feedback.
2. A fresh objective eye.
3. Support.
4. Knowledge of the market place.
5. Deep interactive notes.
6. Attention to detail.
7. Someone to bounce things off.
8. Majority of friends haven't a clue.
9. You'll go nuts talking to yourself.
10. It's tough out there.
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